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  • ‘The Maze’ and other poems by Sarah Al-Haddad

    December 2nd, 2017

     

    In The Ocean’s Company

    The ocean converses with my soul,
    Its waves constantly break at the shore,
    With such delicacy that it calms my very core.

    The composure of the waves
    Against the conflict coming from within
    Poses a pronounced contrast.

    I tremble and agonize with self-doubt,
    “Will I ever be as healthy as the others?
    What about all that I’ve been blessed with?”
    The ocean’s waves continue to break.

    I envision the future in black or white,
    And I am convinced that it is not right,
    So I attempt to dismiss my concerns outright.
    The ocean’s waves nod in agreement.

    Exasperating anxiety and dark depression
    Subsist on my debilitating thoughts,
    Leaving me depleted of ambition and drive.
    The color of the ocean fills my soul with hope.

    The waves gently pat my feet in succession,
    Grains of sand lightly tickle my toes,
    And my unfavorable thoughts leave in regression.

    Just beginning to apprehend my potential,
    Yet I am certain I possess power that is
    As challenging to fathom as the depth of the ocean.

    The continuous battle within myself
    Threatens my existence as it always has,
    But I refuse to permit it to be my last.
    The waves quicken in support of the notion.

    The ocean chants in tranquilizing harmony,
    I become utterly mesmerized by the melody,
    Blessed by its presence and virtuous company.

    Betrayal’s Embrace

    You were Venus in my eyes,
    I admit I was mesmerized.
    I let my heart be my guide,
    To safety rules I did not abide.
    Now my regrets are all amplified,
    As I reflect in the dead of the night.

    It was me you carelessly betrayed,
    Me, who used to come to your aid,
    Whose affection still won’t fade,
    Even though you dug a blade.
    Oh it’s such a cliché,
    That I feel compelled to portray.

    You played me like a game,
    Have you no shame?
    The hurt is ingrained into my brain,
    And I have only myself to blame.
    This was never my aim,
    But it could have been all the same.

    I admit I was already broken,
    Seeking comfort in you often.
    I should have had caution,
    When you made me into a burden,
    And left me when I had fallen,
    Of that I am certain.

    You seemed so transparent,
    I thought you’d never be distant,
    Especially when it was urgent.
    All of a sudden, you were arrogant,
    And of me you were avoidant,
    Much to my bafflement.

    Inside a Poet’s Mind

    Whenever I write poetry,
    The process tends to be messy.
    I start shedding layers of negativity,
    Enhancing my wellbeing greatly.

    There’s something unapologetic
    In writing in a style that is poetic,
    Even when feeling claustrophobic,
    Living in a world far from idealistic.

    When my patience is exhausted,
    And my judgment becomes clouded,
    I turn to my pen that have I befriended,
    Of its companionship I have boasted.

    Through my darkest gloomy phase,
    It is poetry that has sent me rays
    Of sunlight deserving of praise.
    I appreciate it even more nowadays.

    The Maze

    I was lost in a maze,
    Lost in a state of daze.

    I saw Alice and befriended
    The mad hatter,
    And everything between the latter.

    Some I wish to unsee,
    It has reached that degree.

    But it is alright,
    I have won that fight!

    Under the Rain

    At night I sway under the rain,
    Deliberately neglecting the pain,
    Under pretense of scarcity in strain.

    The morning sun gleams with its rays,
    I exclaim telling the world I’m okay,
    Despite it not always being that way.

    It was in fact a forecast of their offering
    That I will become adept at conquering,
    I say there is to be no more foreshadowing.

    It is noteworthy and good fortune indeed
    My wishes were met as per my need
    In managing my temperament at ease.

    I will go forth with living my life as I please,
    Exercise being my euphoria at the very least,
    To its endorphin rush I say, ‘yes, please.’

    And to take note of the music’s flow
    Is another joy, even at the lowest of my lows,
    I strongly testify that it makes me glow.

    In between letters I find comfort as well,
    And although it occasionally makes me dwell,
    It can be immensely therapeutic, I can tell.

    Toying With Fire

    Toying with fire is what I do,
    Fear my strength,
    Forgive me for being crude.

    Living on the edge of existence,
    I challenge the concept every day,
    Who is to say it is not true?

    It is notable that I care not if they agree,
    For I see myself handling dismay with ease,
    No matter what they may think or feel.

    Dismay comes crashing down,
    Similar in pace to stones rolling off mountains,
    But it will not be at the expense of my serenity.

    It has been a long quarrel with my emotions.
    Now that I know that surrendering is strength,
    I grant it permission to course through my veins.

    With each day is renewed strength
    And a renewed will to live a better day,
    And that is how I get through every day.

    Sarah Al-Haddad is an aspiring professional writer who has been writing poetry since the age of eleven years old. She is yet to finish her college education. In the past, she started a YouTube channel where she delivered her original poetry. Al-Haddad is now focused on running her poetry blog on WordPress and on being a freelance English tutor. Sarah Al-Haddad resides in Saudi Arabia.

    Sarah’s Website

  • ‘The Day Of The Angel” and other poems by Clare McCotter

    December 2nd, 2017

    Goose

    in memory of Anna McAllister

    Walking evenings stretched out
    into a prairie of stars
    it seemed crimson and gold
    would not rise
    through bark and bole
    and the goose following celestial cues
    in the music of the spheres
    would never leave
    the soft bed
    you spun for her
    compassed by a newly hatched sun.

    Falling like the bitterest snow
    the moult had been hard
    leaving her weak
    till tail feathers
    started to bud
    on a harvest moon’s pink edge
    its strange light
    striking lodestones
    behind dull eyes
    sparked the fires of flight
    ancient watchers
    of southern skies had described.

    Navigating night’s ametrine heart
    she left without a word
    each wing flap creating uplift
    for those trailing after
    on a journey
    to the land of musk ox white bear
    arctic hare and fox
    drawn along
    earth’s magnetic course
    she separates milk from water
    feeding on pearls
    deep in the silvery reeds
    back once more in her true north.

    (Published in Envoi)

    The Soul Maker

    for Anne McGill

    Year the blue planet’s icy moons
    stole the show
    and a Tibetan pony nosed
    the starry heavens
    she came at harvest equinox
    carrying copper scales
    brilliantly balanced
    with corn and snow swept feathers.

    On a black mineral glittered island
    she was taught
    all the holy place’s names
    safest paths
    the purest stream
    running through meadows
    where she planted
    a silver ring among wild poppy seeds.

    Patch of carmine becoming garden
    tilled from the hour of the hare
    to night’s fringe
    by hands that fed the dark goose
    sedge roots
    and mosses, helping it
    leave the gently lake lapped grasses
    for its wide unfettered north.

    Gentian and larkspur and columbine
    spreading with scarlet vine
    to other grounds
    blur the boundaries
    she crossed
    travelling in the storm’s bright eye
    all the way out to the marshes
    just to glimpse the otter’s silky length.

    (Published in Envoi)

    Bone Constellations

    in memory of Maggie O’Brien (née Flanagan)

    In a graveyard searching among the stars
    for the bones of a woman
    dead over thirty years
    I see something glimmer
    on the floor of the water carrier’s jar.
    It could be a femur, tibia or fibula
    long bones in a pitcher of sky.

    If reaching could draw them down
    to where time and patience
    perfectly placing each turn all
    to a cathedral of white opaline
    I would ask the wisest in these woods
    to thrum up flesh and blood
    with a low-voiced journeying drum.

    Calling you back to the far hill
    you walked with a small bird man
    the tart-tongued said
    you should have been glad to get.
    And there we might speak
    of mornings at your well
    ankle deep in pale blue larimar light.

    Under a roof of rented tin
    talk might turn to a mare’s amber eye
    to the final tear you cried
    to nights you walked
    a high path through whins and ice
    leaving what offering with your God
    half hawthorn tree half Christ.

    (Published in THE SHOp)

    Something Back

    in memory of Julia McAteer (née McGuigan)

    Today your daughter said everyone wants something back
    the site she sold where an old house tilted like a womb
    our now gone backfield that oblong of pristine green
    the root of a lushing lilac bush earthed for a hundred years
    a white-scarred gelding traded how many snows before

    you died gaining in granite a syllable you never had in life
    an absence filled with ibis and orioles and waxwings
    your name in that girl’s ear a rare fleeting foreign thing
    you would never have claimed your own
    you never did the two bedrooms sleeping five

    the living room clean of ornament and antimacassar
    the two postage stamps of grass separated by a short path
    host to a boy hatching joy from a gnarled brush shaft
    the books you read but did not own or want to own
    circulating like wandering stars through silver poplars

    their light barred always from your grandson’s satchel
    empty of paper and pencil those tools of an intellect
    I doubt you would have wanted back
    knowing his dawns break in water clear and deep and wide
    no man with line and plumb will ever come.

    (Published in Abridged)

    The Junior Room

    in memory of Annie McGill

    Annie’s classroom was the only one in that small school
    without pupils planted in rows
    slicing the crumbly air straight as Christ’s crucified stare.

    Junior room sans roof sans floor was a lake of islands
    slowly flowing from some geography of grace
    in pale blues and milky opalescent silks.

    Lanterned by liquid moon and serous stars floating
    under the firmament of fish she fed with strange fruit
    gathered down deep on the gravel’s unmade bed.

    Sediment stirred by flitting bats and the molten patterning
    of their crystal chatter spreading as she held
    between her thumb and finger tip a seed of water.

    Swollen with three syllables sounded out
    on a girl’s new exercise book – pig-e-on. Turning to two
    rising from the prow of an out-rigger canoe.

    (Published in Revival)

    Mary of Fallagloon

    in memory of Mary McKenna (neé McCotter)

    The wedding name he gave
    unused in our lowlands
    where you are place.
    Blanketing bog
    gaunt supplicant thorns
    beseeched amaranthine hills.
    Sheltering three zinc roofed
    rain serenaded rooms.

    The rumour of furniture
    two beds one wardrobe
    and looming large
    a rangy table
    holding lessons
    prepared at an oil lamp.
    Grammar and composition
    Greek and Latin roots
    arithmetic, algebra, geometry
    music and drawing.

    Next to no interest
    in those hasty concoctions
    conjured in gurgling pots
    stalwart on open fire
    long after others
    switched to stove switched
    to shining enamelled cooker.

    Your well-weathered door
    always on the latch
    no caller leaving
    empty handed
    cupboard scoured
    for a brown egg
    yellow pear or last blue fiver.

    Sharp suited cattle dealer brothers
    only half amused
    by the tall ship
    sailing down Glenshane:
    black hat clamped on
    verdigris round rim
    black overcoat
    fastened with old safety pins.
    Till heavy hems stilled
    that night winds and stars
    died out there among the marigolds.

    (Published in THE SHOp)

    The Day of the Angel

    in memory Mary McGill (née Moran)

    A week of waiting and yellow roses, of winter benediction
    in artefacts of light – lustral shapes or communion of dust and water?
    Cold consecration sealed in an origami of doubt.
    The healer left you nothing but her tears and a royal covenant
    of wings, malaaikah, mal’ach, messenger
    or your own heart’s breath diaphanous in lazuline and white?

    It is four in the morning and you are still here; beyond
    the night-struck glass a chaos of silence crowds eucalypt and beech.
    Once a child’s time thronged cathedral, you always near
    lambent lark light hands signalling encouragement and reprimand
    to family and those where bloodlines run less clear.
    Now they lie calm and lovely in a galaxy of spheres.

    I wish you had worn the earrings I wear today for this poem
    symbol of an adopted land, the studied stars you bought
    when I was twenty one; long before these hours of astral ambassadors,
    of lucent pale blue orbs, of a young saint’s favourite flowers.
    Before I saw feathers of morning and gold gleaming there
    in the unflinching black of your daughter’s black hair.

    (Published in Abridged)

    Clare McCotter’s haiku, tanka and haibun have been published in many parts of the world. She won the IHS Dóchas Ireland Haiku Award 2010 and 2011. In 2013 she won The British Tanka Award. She also judged the British Haiku Award 2011 and 2012. She has published numerous peer-reviewed articles on Belfast born Beatrice Grimshaw’s travel writing and fiction. Her poetry has appeared in Abridged, Boyne Berries, The Cannon’s Mouth, Crannóg, Cyphers, Decanto, Envoi, The Galway Review, The Honest Ulsterman, Iota, Irish Feminist Review, The Leaf Book Anthology 2008, The Linnet’s Wings, The Moth Magazine, A New Ulster, The Poetry Bus (forthcoming), Poetry24, Reflexion, Revival, The SHOp, The Stony Thursday Book and The Stinging Fly. Black Horse Running, her first collection of haiku, tanka and haibun, was published in 2012. Home is Kilrea, County Derry.

     

    The Day Of The Angel and other poems are © Clare McCotter

  • “Word Skin” and other poems by Órla Fay

    November 29th, 2017

    The Fish

    after Elizabeth Bishop

    Fragile as a rainbow,
    silvery, iridescent she cannot be caught.
    Some say she is the mother of the salmon run
    and some say she goes with them
    only to remember,
    afraid that one day she could forget
    the stream of consciousness she came from.
     
    It’s not enough to say that she got lost
    or that she found herself lost
    and yet she did find herself when she was lost,
    out in the wilderness of the vast ocean
    panicked and spluttering in the shock of its depth
    (this the same woman who had walked along the pier
    daring the engorged waves to sweep her away.
    My God, I had thought remembering the vision
    of The French Lieutenant’s Woman)
     
    Stunned by the wideness of the world
    she stayed in it for years, alabaster in the moonlight,
    perfectly still in the starlight,
    unnoticed with briny, lifeless eyes.
    About her whale song and in the distance dancing light –
    the beauty drove her almost mad eventually,
    cracked, hatching from herself.
     
    From birth she had strayed from an essential part,
    some missing connection, a clawing sense of loss,
    hungering for the elements,
    bouncing from one broken bank to another.
    Who could hold or feed such a creature?
    The pearl in the mollusc could not sustain her
    and certainly not I, thought offering my innards.
     
    Now that she has swallowed herself
    from meeting herself on the journey back
    she does not thrash and flail on the line.
    It would do me no good to keep her.
    I had too late known that she should swim
    between the sun and rain in the spray of a dream
    keeping her skin.
     

    Word Skin

    They have seeped into me
    invisible dyes that will never leave.
    Washing in the river they are the river;
    the bank, the froth, the rock, the pebble,
    the reeds, the gurgle, the swish, the fish,
    the cormorant, the heron,
    the roc – a passage of Sartre on the rapids,
    Goethe’s sorrow in driftwood,
    the protracted silence between gongs of the bell.

    I saw an otter sluiced in water
    sleek as a seal silky with sunlight
    diving and twisting as an eel
    and he had the same skin.
    Searching in the darkness, the submarine,
    knowledge is an impression
    a cloud-like fog clearing, a day-dream,
    a knowing without knowing how or why
    an instinctive mastery.

     

    Who said that the stars are so far away?

    Portmarnock, Dublin, January ‘16
     
    Who said that the stars are so far away
    when their shadow is caught on the wet sand
    now star fish have washed ashore from the bay?
     
    Do you remember the strand that lost day?
    Wind rose from the beach like the desert’s hand?
    Who said that the stars are so far away?
     
    Ships trawling home will make certain gangway
    where spray-venting waves hissing crash-land
    as star fish are washed ashore from the bay.
     
    How much does the anchored iron sea weigh
    that holds to ransom horizon’s bright end?
    Who said that the stars are so far away?
     
    Behind clouds is there beauty to convey
    when Shambhala is within the heart found
    now star fish have washed ashore from the bay?
     
    Their flicker in the darkness drowns dismay
    though their music so solar makes no sound.
    Who said that the stars are so far away
    now starfish have washed ashore from the bay?
     

    Venus de Milo

    Racing through the Louvre
    I am not as impressed
    with the Mona Lisa
    and her knowing smile
     
    but fly past goddesses,
    borrowing wings
    from the Victory at Samothrace,
     
    Theseus in the labyrinth
    Denon to Sully
    and find her
     
    armless, surviving,
    admire her,
    stand in sorority,
     
    letting her know I love her.
     

    She saw Venus

    She saw Venus undressed,
    her skin pale as the dawn,
    her breasts swollen as the moon.
     
    Her heart the morning star Inanna-Ishtar,
    the Greek Aphrodite and Roman goddess,
    Catholic, shining Queen of Heaven!
     
    Today she looks for love and sees
    cherry blossoms, perfectly pink
    pencilled like hearts on trees.
     
    Evening star too, forlorn in the garden
    she steps from Botticelli’s shell born
    from angel’s breath to the loveliness of woman.
     

    Windswept

    Windswept birds, windswept wings,
    windswept trees, windswept grass,
    windswept moon,
     
    halved –
     
    windswept hair, windswept breeze,
    whistling, shaking nests.
    Windswept hands of the clock.
     
    Windswept voiceless being,
    being without form, windswept,
    painting the world with thoughts,
    making the world
     
    {{{{{windswept}}}}}

    Word Skin and other poems are © Órla Fay

     

    Órla Fay is the editor of Boyne Berries Magazine. Recently her work has appeared in Amaryllis, A New Ulster, Boyne Berries, The Honest Ulsterman, The Rose Magazine, Stepaway Magazine, Clear Poetry, Sixteen Magazine, Lagan Online, The Ogham Stone and is forthcoming in Cyphers Magazine. Her poetry was long listed in The Over the Edge New Writer of the Year Award 2017, The Anthony Cronin International Poetry Award 2017, The Fish Poetry Prize 2017 and short listed in The Rush Poetry Competition, The Dermot Healy International Poetry Award 2017 and The Red Line Book Festival Poetry Award 2017. She is currently studying the MA in Digital Arts and Humanities at UCC.

    Orla’s website

  • ‘Fugit Amor’ and other poems by Catherine Phil MacCarthy’

    November 23rd, 2017

    The Chamber

    One ear to chimney-breast, on bended knee, better to hear
    trapped wing-beats, he prized ajar the black ornate
    cast hood. Then, slid his arm inside the flue.
    As though one gloved limb were deeply sunk
    in hind-quarters of a cow, to guide the head in utero.
    Though here, no calf in hairy smear or bloody stink
    was sensed. First, soot sprinkled rolled up sleeve
    of shirt; his thumb and fingers gripped wiry claws
    and held. Down, gently, drew his haul into the room.
    Disheveled. Stained. Feathery mass weighed his hands.
    He cupped the ample beating heart and walked.
    The bird was fond of warmth, or slightly stunned.
    For seconds brooded. Then, lifted wings and hopped
    onto the window ledge. And flew. A freed white dove.

    The Chamber is published in The Irish Times.

    Fugit Amor

    At the Musee Rodin I looked for us
    among the lovers. We were never that
    fierce, a couple twinned in flight
    white marble bodies all delicate curve

    back to back lying across air. And yet.
    How those arms reach over his head
    seize her shoulder, her breast,
    how she strains beyond his hands

    free and fleet as a bird. They were once
    a world lost, abandoned flesh,
    and in that searing rush how could they not
    fall apart? Look at mouths averted,

    bodies caught in space.
    He is cast over her facing the heavens,
    she is facing Earth. Stretched
    on that rack, desire holds them

    still, governs her tongue, consumes
    him. Here, see how love fares
    beyond death, tender as hell,
    transports like doves’ wings.

     

    Fugit Amor is published in Suntrap, Blackstaff Press (Belfast 2007). An early version of this poem was published in The Irish Times.

     

    The First Rod: Mackerel at Inis Oírr

    Cast the line off the pier
    summer nights
    into dark stillness,
    read the dusk blind,
    Atlantic waters at full tide.
    Wrist so deft and light
    arching the throw
    high and wide now,
    all six feathers kiss
    the black surface like stars
    shooting without trace

    where a shoal
    in its own sweet hour
    clots and ripples a current
    to the hands, charged
    at the least quiver
    to reel in the bowed line,
    amid whoops and cries,
    at pains to land
    the weight of this prize,
    wriggling and twitching
    with silvery light.

    The First Rod: Mackerel at Inis Oír is published in Suntrap, Blackstaff Press, Belfast 2007. An early version of this poem was published in The Irish Times.

    Artichokes

    From early summer
    their sage heads
    intricate as a mosaic,
    swelled to infant cabbages
    like three we picked
    when you came
    flirting and peeling,
    ivory leaves
    to dip in melted butter
    and tease shy flesh
    between our teeth.
    The rest got spiked
    purple hair
    the week you left,
    tips festering
    to pincushion blue
    and remorsefully
    hanging their necks.
    By November our world
    was shrunk
    to a brown withered husk,
    hearts turning to
    skeins in my hands.

    Artichokes was first published in The Irish Times, May 11, 1991 and is published in This Hour of the Tide (Salmon 1994)

    Catherine Phil MacCarthy’s collections include The Invisible Threshold (2012), Suntrap (2007), the blue globe (1998), This Hour of the Tide (1994), and One Room an Everywhere, a novel, (2003). She is a former editor of Poetry Ireland Review (1998/99). She received The Lawrence O Shaughnessy Award for Irish Poetry in 2014 and won the Fish International Poetry Prize in 2010. A forthcoming collection, Daughters of the House is due for publication.

    ‘Fugit Amor’ and other poems are © Catherine Phil MacCarthy

  • “Backward Glancing on a Tehran Street” and other poems by Lynda Tavakoli

    November 22nd, 2017

    Game On

    In Syria the shooters
    choose themes for target practice,
    a living video game of
    entertainment for the week.

    On Saturday it’s chins –
    anything below the nose, above the neck,
    and rifle sights explore
    a quivered lip
    as points deduct for errors –
    cheeks and ears are left
    for Sunday’s sport.

    On Monday, it’s the old,
    their leech-peeled progress
    over desert skin the easier to track,
    points deducted for impairment
    but added for an outright kill.

    On Tuesday, pregnant women.
    Two for the price of one (but scarce)
    with double points for primary executions,
    only if you’re in the zone.

    On Wednesday, barrel metal
    rests on gaping sills,
    trigger fingers slack
    for mobiles phoning home
    while someone calculates the points
    but lets the stretcher bearers
    live upon a whim.

    Thursday’s dawn will drone
    unblinking and unlit,
    sheltering the snipers’
    bull’s -eyed sleep from heavenly foe .
    Anonymous the joystick thumb
    that strokes its target from
    behind a foreign screen,
    one final arbitrary theme,
    the sum of all its parts,
    no worse, no better
    than what’s gone before.

    Friday now and Holy Day.
    Notch up the scores
    before the credits start to roll
    and silence sucks its permadeath of souls
    into the black hole of a VDU.

     

    Backward Glancing on a Tehran Street, published Live Encounters/Four by Four

    Calling

    Sound travels stealthily here,
    nudged by desert winds
    or wing-tucked in flight
    over a turquoise sea.

    I let it in, breathing the salt taste
    through an open doorway
    and search for distant minarets
    seeking the ears of the faithful.

    Strange too how a church bell
    peals in lingered space,
    filling gaps between the
    foreignness of each refrain.

    Then all at once in note-merged
    harmony, a single song remains,
    spilling its oneness to the
    journey’s end, its call complete.

    War and Want

    The dust is first – always,
    before the sun crisps the skin
    or sand moulds molten heat
    between our toes
    there is always and ever
    the dust to welcome us.

    No orifice hides from its gritting
    no spit or piss protected from
    the chaff of misted rock
    that scrapes its way inside –
    the powdered bones of the dead
    ghosting their revenge.

    Yet in the sleeping hours
    I still dream of you
    beautiful even in the way
    that angels are
    who smile their enigmatic smiles
    among the bloodied spoils of war.

    For I feel the rise and fall of us
    lusting my nights like the killings
    that also lust my days
    and will you forgive
    my need for you
    when you learn
    of my hunger for both?

    But you are not to know
    these soldier’s thoughts
    that scar my days and nights –
    for the thing that was first is last, always,
    disintegrating again to the fineness of dust
    welcoming us all.

     

    War and Want, published The Honest Ulsterman/Live Encounters

    For Friends

    Light comes early in the Middle East –
    arms stretched out like a hug,
    sunbeams swallowing the waned
    darkness of the night before.

    I am alone here in this beauty,
    standing by a window thinking of you,
    feeling the distance of your friendship
    in the sun’s embrace.

    But soon this warmth that touches me
    will find you too and all will be well,
    for the light sustains, knowing
    it can always find its way back home.

    Backward Glancing on a Tehran Street

    Turquoise, my colour-coat of choice
    and yours the emerald green
    of half your roots;
    the other half a chadored
    shadow stretched to fit
    a flat screen
    back at home.

    Here on this Tehran Street –
    Khomeini Street,
    the black crows softly
    trip the light fandango
    through a sea of cars
    shoaling the three-lane surf
    forever six lanes deep.

    On pavements walk
    the kohl-eyed beauty
    of the young,
    loose slung roosari draped
    high on bee hives, nose jobs
    sticking-plastered for perfection
    (at a western price).

    We walk rebellious in
    our coloured coats,
    the mother, daughter oddity
    of us no longer meriting
    that whispered backward glance,
    for underneath our feet,
    awakening slowly from its sleep
    the Persian tiger stirs.

    Unmade Bed

    Through the fraying ends of sleep
    I feel your absence
    seeping through the coldness
    of the sheets.
    The smell of you
    still shelters in their folds
    while dented on the pillow
    your presence lingers like a bruise
    that aches of memory
    surrendering itself to time.

    Backward Glancing on a Tehran Street, published Live Encounters/Four by Four

    Backward Glancing on a Tehran Street and other poems are © Lynda Tavakoli

    لیندا توکلی
    
    
    چشم یک کودک،
    ابرها و آرزوها
    و رویای آنچه که
    فردا آبستن آن خواهد بود
    
    ولی من، همه ی اینها را گم کرده ام
    لحظه های امیدواری ام
    در رهگذر روزها و سال ها
    محو تند بادهای زندگی شده اند
    
    به گذشته می نگرم
    چیزی نمی بینم مگر
    آسمانی بی ابر، اندوهی خالی
    و ته ماندۀ رویاهای تعبیر ناشده
    
    
    بستر دست ناخورده
    لیندا توکلی
    
    
    نبودنت را
    از پایان آشفته خواب در می یابم
    نبودنت از سرمای رواندازها می تراود
    هنوز هم بوی تو
    در چین خوردگیها ی روانداز 
    جاییکه روی بالش تا خورده
    پناه گرفته است
    حضورت همانند کبودی زخمی جای خوش کرده
    
    Attached file of poems by Lynda Takakoli from Where are you from ? Lynda Tavakoli (1) a Persian and English anthology 
    translated and edited by Soodabeh Saeidnia and Aimal Zaman
    
    
    Lynda Tavakoli facilitates an adult creative writing class in Lisburn, Northern Ireland. Her poetry and prose have been broadcast on both BBC Radio Ulster and RTE Sunday Miscellany. Literary successes include poetry and short story prizes at Listowel, the Mencap short story competition and the Mail on Sunday novel competition. Lynda’s poems have been included in a variety of publications including Templar Poets’ Anthology Skein, Abridged, The Incubator Journal, Panning for Poems, Live Encounters, Circle and Square, North West Words, Four X Four (Poetry NI), The Honest Ulsterman, A New Ulster and Corncrake magazine. She has been selected as The Irish Times Hennessy poet of the month for her poems about dementia, a recurring theme in much of her poetry. Most recently her poems have been translated into Farsi (PDF by Lynda Tavakoli (1)) while others have seen publication in Bahrain.
  • Beneath the tower

    November 21st, 2017

    This is an excerpt from Beneath the tower, a written response to the Cambridge Companion To Irish Poets, (2017) a text that largely omits the influence of modernist, experimental and Irish Language women poets. A version of the following text was published in A New Ulster, The Hidden and The Divine : Female Voices In Ireland (An Anthology, 2017)

     

    [There is space] beneath the [dark]tower
    [Dwelling] beneath the tower

    Beneath the Tower

    Alongside it [it a babel-brook] a river [there is, she sings of her silks and silver, many tongued she is]
    [Her song]  [*A river does not ‘sing’ ] [Editor’s Note]. [is of salmon, of hazelnut(s) []a visual image omitted here]

    Boann The River Boyne flows between two ancient towers at Trim, Co. Meath. [two ancient towers shot through, blasted into ruination] at Trim, Co. Meath, Ireland. Alongside [Boann] the river there are the remnants of an extensive settlement which consists of a curtain wall, gate tower remnants, including The Barbican Gate, a great standing tower, a ruined great hall, and other architectural curiosities which have become known collectively as ‘Trim Castle’.  [ *We will concern ourselves only with one of the towers] [Editor’s Note]

    Boann / The River Boyne.
    Boann There is no need to endow the river with a colloquial name! [Editor’s Note]

    The River Boyne flows between two ancient towers at Trim in Co. Meath, Ireland. [Shot through / blasted into ruination], [T]he These ruins present a stark picture to the walker poet. Boann/ The River Boyne [Omit this passage]


    The Tower

    The tower is a physical entity, lock-gripped and tenaciously clinging to the landscape from whence it arose. Yet it can be changed into a useful metaphor for the purposes of this essay. We can examine the tower metaphor as the weight of poetic authority; the poetic language that dominates the Irish canon and that has relentlessly excluded women poets. The Irish woman poet need not take on the burden of the tower, which is in fact an unattainable linguistic remnant of the past. An austere shape that intimidates us and refuses to beguile us with its plain blank note. Its simple austerity.

    Internally buttressed, the tower is a ruination that is invisibly reinforced by those women writers too lazy to challenge the ideology of the cultural industry, the literary market. It could just be a tower in a field, but where is the harm in that ? Women poets wear multiple corsets. They are the best self-editors, doing anything to achieve critical recognition in an Irish canon dominated by the male poet’s voice, including writing a poetry that fits into their idea of the austere, the heroic, the conquering.

    We are never allowed to forget the dark tower: That structured language, that idiom of false praxis. It dominates the dreaming lives of those of us who cling to the literary landscape. ‘Tower’ is always present, a colossus,

     an

    ancient sand       crack
                        sounds,
    unsound,
                                    it cannot
    upbuild
                        its wall.

     

    There is space to walk beneath the tower. There is a huge, mostly dry and cavernous space. It feels light beneath tower because the heavy arches are doing the work carrying that fearful weight of poetry tradition. Small trickles of water run down the old walls nourishing blue flowers, daisies too and maybe there are some forget-me-nots. Small and quite insignificant flowers dwell beneath this austerity. The run-off makes its way to an underground drainage system, eventually it emptying into the adjacent river,

    Alongside tower,
               a babel-brook sings out her silks and silver,
                     many-tongued she is.

    Her song is of salmon, of hazel nuts, of night
                     of men.

    Boann shrugs off the impertinence of the tower in the great schema of things.

    The rulers of tower, those king-worshippers and idolaters, left no space in their making for light, for the shallow play of water, for a sliver of coloured glass to carry the multiplicity of her reflection(s) There is in fact nothing to blunt the edge of the austerity in their conception of ‘tower’.

    Tower is not a burden due to us, nor is it ours to carry.

    The corbelled stonework in the archway under the tower allows air to drive through while keeping the rain off. Of course the supporting arches are of low roman design. These huge arches have the ability to carry great architectural weight. Tower’s unquestioned authority is set in the language of stone, of austerity, a music of heroic manhood, of conquest, of collapse and ruination. It only takes a second to turn away from that anomalous ruin, and face the river that survived the shaping of the tower,

    Alongside Tower,
    babel-brook sings out her silks and silvers,

                       many-tongued she is.

    Her song is of salmon, of hazel nuts, of night of men.

    Boann shrugs off the impertinence of tower in the great schema of things.

  • “Slice” and other poems by Umang Kalra

    November 14th, 2017

    How To Run Away

    slowly pry away every hand that wields
    the nails that dig into your skin, crisscross
    scratches shaped into dry throats and the
    taste of dust glistening through humid, hot,
    sickening summer air sinking into your bones
     
    use your fingers, use your words, unravel
    the knots that hold your feet in place, that
    nail your tired, broken skin to the ground that
    has built your body with its dirt; wipe your
    fingerprints off every surface you have touched
     
    slit through every string that ties you to these
    lives that have to bend and break to make room
    for you, smooth and untouched pieces, clean
    breaks all over the floor: dust off the empty
    promises and send them somewhere better
     
    scrunch up every muddy, murky memory into
    your trembling fist – you exist, and they don’t
    anymore – keep them safe somewhere in your brain,
     
    for you will need bricks to build a new home


     

    Vagabond

    My heartstrings have been knotted
    carelessly, messily, tightly, into place
    in countless little corners of the world,
    tangled in hi(stories), dancing, pulsing,
    with the sound of hurried feet on stone
    and sand and sleet, racing hearts and
    fleets of fluttering eyes ferried through
    streets of gold, dust upon dust upon
    dust, upon stones that cover little bits
    and pieces of the past, buried in the
    corners that hide in the shadows but
    sometimes glint like taunting eyes in
    the yellow glow that covers the sky
    on days that colour the air grey, laced
    in sweet smoke, as sweat chokes me,
    for every change in the weather, every
    shift from seamless simplicity is (not
    seamlessly) woven into me, there are
    jagged bits of me that lay messily
    scattered on pavements that couldn’t
    know less of me, there are wisps of
    air in hidden alleys that know my name,
    lost among winds and blizzards that
    break through walls and through me;
     
    My heartstrings are rather fragile, they
    sometimes tremble, and they crumble
    onto me, and I am aching for something
    resembling stability; there is much more
    that I have left to see


    Withdrawal
    
    For Shashwat
    
    You come in waves, warm
      fluttering figures dancing off
    of silhouettes -- flames licking 
      memories off of summertime's 
    skin, you come in shadows, lost
      to my eyes but always shivering 
    at the edges of my tired mind, 
      like waves that had last kissed 
    the shore so very long ago but still
      carry the scent of its salt in their
    curling forms -- you are the fire 
      at my feet at the end of a day 
    spent carving blisters into my skin,
      you are the soft laughter in the 
    depths of my pillowcase that holds
      me as I sleep, you are the little 
    corner of memories I keep hidden 
      and safe and covered in gentle 
    sighs and the hurried goodbyes
      that have coloured every inch of 
    of our knowing each other -- I could 
      tell you the colour of your eyes and 
    the way that they sparkle when they 
      meet mine and I could tell you of the 
    way your laughter rings through my
      chest even though you're so terribly
    far away, but I do not have words, I 
      do not have any language that could 
    hold the weight of your existence, 
      I do not know how to bottle you up 
    into a poem and pretend that it is 
      enough: you come in waves, you 
    always have and always will, and I
      will be patiently waiting at the edge
    of the sea

    
    Home never felt like spring
    
    strings tied, kites flying in the back of my mind;
    colour seeps into my blood and sweat pools
    beneath cotton that runs against me like winds
    that carried sweet smelling marigolds and
    rajnigandha that sang of nighttime, drums beat
    and flowers sway in sunlight that soaks me,
    head to toe in heat that had alway been uninvited;
    my skin is tired, scathing rain and sleet have
    scraped the edges off of me, the skies rumble as if
    they are coming to swallow me and I
    raise my arms waiting
    to be taken, but the sun dapples shadows onto
    my skin and a forgotten, crumpled thing resembling
    illness
    bursts out of my chest, cracking like soil,
    welcoming blooms and buds and softer, quieter things
    than the angry thunder that winter brings;
    I know now that
    home will only ever feel
    like spring
    
    

    
    Slice
    
    a mirror lies enough it does not	paint me a demon
    	it does not	slice through me like the knives
    that live in my throat	swallowed along with all of the
    	fruit I stole from the		orchard I wished was mine
    germination needs sunlight too	I could swallow the 
    	ocean and it would not be enough	to grow trees
    inside of my lungs
    
    

    
    The Myth(?) of Sisyphus
    
    “One must imagine Sisyphus happy.” 
    	- Albert Camus, The Myth of Sisyphus
    
    One must imagine Sisyphus happy,
    	clockwork crumbles under the weight
    of stone and pelting skies and lines that
    	cease to mean more than a smile that
    never formed to begin with, and one 
    	must pretend the tumbling skies are
    untraveled roads, unturned stones, un-
    	known folds within cloth and skin 
    and stories spun from darkening nights,
    	sordid sights, unsightly voices that 
    sink to their knees and pull the strings out
    	from below your feet – the clouds do not
    move in planetary trajectories they do not
    	curl in the shape of time, feet do not
    rush after the turning hands of a clock, they simply
    	turn and trudge within themselves, you see,
    the sky is no great adventure, the earth is no
    	endless sea, the ocean is waiting to swallow
    the last bits of us, and our moments of breath 
    	do not draw any more oxygen than
    that which exists within the bellowing of thunder
    	and the swaying, singing, shifting trees
    that dig their roots so very aimlessly, one must
    	imagine Sisyphus happy, or the voices
    may someday win
    

    Umang Kalra is an Indian poet and a student of History at Trinity College, Dublin. Her work has appeared in Tn2 Magazine, Coldnoon, The Rising Phoenix Review, Porridge Magazine, VAYAVYA, and others. She has previously worked with Inklette Magazine, and is currently involved in a year long mentorship programme for women of colour in Ireland, under the bilingual poet Doireann Ni Ghriofa.

    “Slice” and other poems © Umang Kalra

  • ‘Fugue’ and other poems by Chelsea Dingman

    November 7th, 2017

    British Columbia Pastoral

     
    September: almost snow.
    White sheets across
    the sky, the fields. How strange
     
    the frost, feral over desert
    hills. Sage brush
    caught in the cattle’s
     
    teeth. The river cuts
    a swath where I am
    trying to tell you about grass
     
    that presses up through
    the ground without urging.
    About merciless suns
     
    taking our eyes. You shield
    your mouth as I speak.
    The wars I won’t admit
     
    like dying daisies, their corpses
    linting the grass. In summer,
    we swam in the Thompson
     
    River. In feral heat. Baptized
    new again. The kites
    of our bodies cutting
     
    a swath through green
    water. But as water rises
    in spring, it will take you
     
    with it. With thawed glaciers
    & snow. With bones
    we can’t make smaller
     
    once grown. Dead trees
    claw at rocks on the river-
    bottom, swollen belly
     
    of a child rising up
    like a balloon
    in the April sun.
     
    (Originally published in Sugar House Review)
     

    Accident Report: After the Baby Dies at Birth

     
    First, I asked for
    mercy, when mercy
    was a small sliver
    of light. My bones
    softened by the body
    leaving them. You asked
    questions, green
    tea in hand. Some
    lemon. A cleanse
    of sorts, as I refused
    your prayers. The sky,
    faithless, darkening
    again. You wanted
    to know what’s next,
    when we would try
    again, what every doctor
    had to say. I was
    an empty stall
    in a gas station
    bathroom. I said, never.
    But now I say
    now, let’s try now,
    before I lose
    my nerve. But you
    don’t want to touch me
    yet. You eye my body
    like a broken trough
    looking for any sign
    of seepage. I drink
    from the mug. You move
    away, the way the wounded
    animal moves before
    it tucks tail & runs. Every
    good-bye is unnecessary
    after holding something
    as it dies. I want to feel full
    again, I say. The door, open
    as a mouth. You raise
    your hand over my body
    & ask, where does it
    hurt? But I can’t say,
    everywhere. I can’t
    say, it hurts everywhere
    I’m touched. I can’t
    say, touch me every
    -where. Please.
     
    (Originally published in Bennington Review)
     

    Fugue

     
    “When Plath’s journals, with their claims of abuse, began to be published, many critics pointed out these claims as not only false but also proof that Plath was paranoid, crazy.”
    -Emily Van Duyne
     
    There is a river, & in its mouth, the Holocaust
    night I gave birth to a broken mirror,
     
    the shard that stuck in a man’s neck.
    He pulled it out & that was the beginning
     
    of blood. The nightmares. Being chased
    through a small ghost
     
    town, windows shut & boarded, only shadows
    to command: break or break me.
     
    I had a god, once. Somewhere, I think
    I’ll know how to be full & limber
     
    & not the husk that held the crowning
    dark. Not the woman, unbelieved.
     
    He hit me. The night the baby died,
    I was tired of the blank stars dying quietly
     
    years from here. I should’ve braced myself—
    his fists like arrowheads. The glass
     
    river, leaking bodies. I’ll fucking kill you.
    Even now, I close my eyes & hear water.
     
    There is no baby. There never was.
     
    forthcoming in Pleiades
     

    Travelling Through Tennessee in January

     
    Again, I drive through dead forests
    longing to flower. I think of nothing.
    Not you. Not our children with their mouths
    hanging half-open like shutters
    over the windows, the summer
    Rita followed Katrina into the Gulf
    & taught us what women are capable of.
    Frost on the ground, the morning after
    Rita left, when it had been ninety degrees
    a day before. The remains of the poor
    creatures that couldn’t withstand the cold,
    curled on white-tipped grasses. Fields
    & hills pass outside the car’s windows, late
    afternoon. Houses riven from each other
    by land. Not water. Not here, north
    of where I left you. The fields, lit from inside
    as the sun slides behind hills. I try to remember
    your voice. Low, like dusk. It didn’t mean anything,
    you said. But I know that you can’t feel
    anything & I can’t feel anything
    less. At the interchange of I-75 North
    & I-24, I drive further into the night
    from where I left you. From
    where you were standing
    when a voice on the radio cautioned us
    against a new woman blazing
    in from the east, a bloody heart
    tucked between her teeth.
     
    Originally published in Arcadia


    Hunger [or the last of the daughter-hymns] 
    
    (n) a feeling of discomfort or weakness caused by lack of food, 
    coupled with the desire to eat—
    
    
    as I talk to wind winnowing my ribs into wind
       chimes. I swallow small coins from the counters,
    wanting change my body can keep. I stand
    
       on the street corner in the rain & coax water
    into my mouth like a woman who doesn’t know
       the fullness of the sea. My mother worked
    
    three jobs to feed our family. Now, I horde
       toilet paper & paper towels in spare closets
    with cans of soup & creamed corn. The wind
    
       hollows the oaks. Their bones don’t know
    what it is to break, but I am a hollow
      instrument, a sacred text. Daughter [less].
    
    
    (v) have a strong desire or craving for
    
    a body inside my body—
    a child, a man. 
    
    Fields, full. The sun,
    aflame. Fear like a shot
    
    -gun, an aborted flight
    plan, people jumping
    
    from buildings. But 
    my daughter, I draw back
    
    down. The one I lost. 
    The ones I have left
    
    to lose. Like snow—
    the bodies that are ours
    
    for a season. For less.
    
    
    (v) to feel or suffer through lack of food
    
    
            the weak sunrise
    
    in my daughter’s new
    
          silence. My skin, a loose 
    
    sheet. Her clavicle, hip
    
            -bone, head. My cervix, 
    
    thinned. Her body, an offering. A prayer
    
    I whisper as I tear
    
    			new maps in a lucid dream
    
    where I live alone
    
    	& she folds herself into a crane
    
    			to hang from the ceiling
    
    of someone else’s womb. 
    
    Originally published in Sycamore Review
    
    
    Near Narajiv Selo 
    
    -Hunger, cold, and ethnic oppression forced Ukrainian and Jewish 
    people to look for refuge in faraway lands
    (1919-1939, when Eastern Galicia belonged to Poland)- Roman Zakhariy
    
    
    A dark road. Stars like paper 
        lanterns. Long grasses unthread in thousands 
    
               of flickering fingers. Poppies’ 
    
    mouths buttoned black, as wind 
          shrifts crimson 
    
    petals from stems, from fields torn by tractor tires, from a barn 
           below the hill. My stomach, where I left things 
           unliving,
                     pierced by little more than night 
    
           air. Like shackled light, the moon is
           outlawed in the pines. I unholster 
    the sky: 
            at dawn, cattle cry in the clearing 
    
    as I dig up 
          rutabaga, cabbage to wrap the rice. Water claws through 
          dirt. Claw hammers
    
    for hands, I carve our breaths
    into trees. Our breaths, like silver buildings. As I slowly empty
                the earth, sky
    
              buries night. Night 
      that smells of gunpowder and grease. Night 
             that leaves nothing 
    more 
             than a handful of stars, twined 
        in the pines’ 
    rime. Nothing more
    			than a river
    		where no one has drowned.
    Originally published in Southern Humanities Review
    
    
    Chelsea Dingman’s first book, Thaw, was chosen by Allison Joseph to win the National Poetry Series (University of Georgia Press, 2017). In 2016-17, she also won The Southeast Review’s Gearhart Poetry Prize, The Sycamore Review’s Wabash Prize, and Water-stone Review’s Jane Kenyon Poetry Prize. Her work can be found in Ninth Letter, The Colorado Review, Mid-American Review, Cincinnati Review, and Gulf Coast, among others. Visit her website. 

     

  • ‘Eclogue’ and other poems by Tara Lynn Hawk

    November 7th, 2017

    Eclogue

     
    Recalcitransitory word bubbles
    Such a dovecote of lies
    And a blight of didactic, dissatisfied thought
    Moral originality fades, declines
    Providence us no longer timeless
    My infelicities discarded
    I retreat to my true philosophy
    Unlimited by my range of perception
    Back to particles elemental
    I will not join the minds left empty
                 and vacant of any flowering
    Ad infinitum
     
    Originally published on Guy Farmer’s Poems & Poetry Blog
    Second publication The Dead by Tara Lynn Hawk
     

    Untitled #3

     
    There exists
    Those who wish to manifest
    Everything from lawless nothing
    Creating their own Scylla and Charybdis
    I seek the forest as Muse
    And smash society’s cement knot
                       of aimless materialism
     
    Originally published on Guy Farmer’s Poems & Poetry Blog
    Second publication The Dead by Tara Lynn Hawk
     

    Iphigenia

     
    Empty, blood splattered altar
    Created out of man’s own desire of glory
    Her own father left reason itself sepulchred
       in a tandem endless
    It’s funeral dirge squashed
       by wind and wave
     
    Originally published on Occulum
    Second publication The Dead by Tara Lynn Hawk
     

    Interview

     
    You look right for the part
    But we have concerns
    Just what, if anything, have you been doing with your life?
    Are you taking any psychotropic meds?
    Are you a “team player”?
    Can you skate backwards?
    Will you make coffee runs?
    How do you feel about quinoa?
    Are you a Marxist?
    Do you feel there ever was a clear blueprint for the dictatorship of the proletariat?
    But most important
    Will you take the rap for the rest of us?
     
    Originally published on Spilling Cocoa over Martin Amis
    Second publication The Dead by Tara Lynn Hawk
     

    Bitty Surrealist Poem

     
    Stark black rosary of isolation
    Toes submerged in trees of dryer sheets
    Naked sand peas
    Callus belief exposed
    Soak in the gasoline of discard
    Rinse
    Repeat
     
    Originally published on Uut
    Second publication in The Dead by Tara Lynn Hawk

    Tara Lynn Hawk is a poet and writer whose work has appeared in OCCULUM, Uut, Spelk, Excavating the Underground, Spilling Cocoa, Social Justice Poetry and others. Her first chapbook of poetry, The Dead, is available for download on Smashwords.
  • ‘After The Revolution’ by Kevin Higgins

    October 30th, 2017

    After The Revolution

    for and entirely inspired by Quincy Lehr
     
    We will pay homeless people to follow
    poet and critic Matthias Wetruder. And not just
    into drug-stores, dry-cleaners, and taxi-cabs
    (though there too) but also into Japanese restaurants
    where said homeless person will sit
    next table vociferously demanding,
    as will be his or her right,
    tomato ketchup with their sushi;
     
    into seminars at first NYU,
    then the University of Houston, on Uselessness
    in The Work of Matthias Wetruder
    where they’ll angrily ask questions about Matthias
    that Matthias can’t answer; around
     
    branches of Barnes & Noble wearing
    a coat with a fungal infection
    (and no belt) reciting from the latest
    translation into Albanian of Sophocles;
     
    into performances of Vespers for a New Dark Age
    at the New York Metropolitan Opera
    where they’ll sit behind Matthias making it clear,
    by their very body odour,
    they know what he’s up to;
     
    around award ceremonies where
    Matthias Wetruder is due to present an award
    to Matthias Wetruder; and most of all into
     
    men’s rooms where they’ll loiter
    in the neighbouring cubicle
    loudly eating the yoghurt
    we’ll pay people like them to eat
    in men’s rooms after the revolution.
     
    KEVIN HIGGINS

    Kevin Higgins is co-organiser of Over The Edge literary events in Galway City. He has published four collections of poems: Kevin’s most recent collection of poetry, The Ghost In The Lobby, was launched at this year’s Cúirt Festival by Mick Wallace TD. His poems also features in the anthology Identity Parade – New British and Irish Poets (Bloodaxe, 2010) and one of his poems is included in the anthology The Hundred Years’ War: modern war poems (Ed Neil Astley, Bloodaxe May 2014). His poetry was recently the subject of a paper titled ‘The Case of Kevin Higgins: Or The Present State of Irish Poetic Satire’ given by David Wheatley at a symposium on satire at the University of Aberdeen; David Wheatley’s paper can be read in full here. Mentioning The War, a collection of his essays and reviews, was published by Salmon in April, 2012. Kevin’s blog is http://mentioningthewar.blogspot.ie/ . and has been described by Dave Lordan as “one of the funniest around” who has also called Kevin “Ireland’s sharpest satirist.”

     

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